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Daft Punk’s ‘Random Access Memories’ Anniversary Edition Is a Reappraisal and Reaffirmation of Its Genius: Album Review
Jem Aswad Senior Music Editor When Daft Punk launched its fourth and presumably final mission statement, “Random Access Memories,” into the atmosphere 10 long years ago, it was greeted with the kind of genre- and generation-spanning adulation that’s rare in any genre. At the time of its release, the supernova of cool around Daft Punk was so pervasive — and the hits from the album, particularly “Get Lucky,” were so ubiquitous — that it topped album charts all over the world, won four Grammys (including album of the year and best-engineered album) and got a whopping 8.8 score from Pitchfork, a publication that played no small role in the duo’s rise. Yet it was a drastic about-face for the pioneering duo, whose electronic and dance music of the previous 15-odd years had spawned countless influences and whose world-shaking 2006-7 tour basically spawned EDM. Fans expecting another electronic masterpiece instead they got a deliberately retro album that intentionally used the technology and recording techniques of the ‘70s and ‘80s to evoke the pristine, perfectionist grooves of Michael Jackson, Chic, Steely Dan, Fleetwood Mac and others — and even unfurled a yacht-rock flag on “Fragments of Time.” It has orchestras, choirs and a battery of top-notch musicians including pioneering funk guitarist Nile Rodgers, virtuoso bassist Nathan East, pedal steel guitarist Greg Leisz and powerhouse drummer Omar Hakim. There are guitar solos, tinkling electric pianos, ‘70s funk bass, piledriving drums and even acoustic guitars. Bored with electronics, the duo “wanted to do what we used to do with machines and samplers, but with people,” said the duo’s Thomas Bangalter.
‘Praise This’ Review: Chloe Bailey and Anjelika Washington Charm as Cousins Competing in Song
Murtada Elfadl In the pleasantly amusing “Praise This,” Chloe Bailey is the self professed nonreligious Sam, a musical artist in the making who finds her niche in Atlanta’s competitive gospel youth choir scene. Director Tina Gordon crafts a musical that’s carried through by a charming cast and highly entertaining ensemble performances. “Praise This” adds a mostly delightful entry to the genre, even if it doesn’t offer a unique take. More successfully it acts as a winning introductory calling card to the acting and musical talents of its rising star, the slightly-older sister of upcoming “The Little Mermaid” actor Halle Bailey and one-half of the sibling R&B duo Chloe x Halle. The story starts with Sam forced to leave Los Angeles by her dad because of some rebellious behavior. He entrusts her care to her aunt and uncle (Kendrick Cross and Janora McDuffie), but the person who takes full charge of Sam’s new life in Atlanta is her cousin Jess (Anjelika Washington). Immediately calling her a sister-cousin and introducing Sam to her life, friends and choir practice, Jess is the type of relative most people try to avoid, driven away by their too boisterous enthusiasm. Ever the smart person, it doesn’t take long for Sam to realize that joining Jess’ praise team in the lead-up to a national championship competition might be her way out of Atlanta and into a successful musical career. And so an odd-couple friendship is born.